Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Tuvalu and from Halifax.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1975.
I'm losing my edge.
To all the kids in London and Halifax.
I'm losing my edge to the art-school Portland kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Neu! practice in a loft in Düsseldorf.
I was working on the güiro sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jesper Dahlbäck to the jazz kids.
I played it at the Troubador.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by A Certain Ratio. All the underground hits.
All Barclay James Harvest tracks. I heard you have a vinyl of every Avey Tare record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a theremin and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Bad Manners record.
I hear that you and your band have sold your harpsichord and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Ossler,
Rufus Thomas,
Theoretical Girls,
Camron Feat. Memphis Bleek And Beenie Seigel,
N.O.R.E. Featuring Pharrell,
Aural Exciters,
Eyeless In Gaza,
Hardrive,
the Sonics,
Organ,
Donny Hathaway,
The Residents,
The Flesh Eaters,
Colin Newman,
Black Bananas,
Animal Collective,
Rowland S Howard / Lydia Lunch,
Lou Reed,
Derrick May,
Radiopuhelimet,
Faust,
Bobby Byrd,
Eve St. Jones,
Deakin,
Oblivians,
Ultramagnetic MC's,
MC5,
The Vogues,
Ash Ra Tempel,
Pierre Henry,
PIL,
Ponytail,
Outsiders,
John Coltrane,
Ultravox,
Byron Stingily,
The Peanut Butter Conspiracy,
The Slits,
Minnie Riperton,
Drexciya,
Lalann,
Jeff Lynne,
Harmonia,
Frankie Knuckles,
10cc,
Rosa Yemen,
The Mojo Men,
Red Lorry Yellow Lorry,
The Shadows of Knight,
Anthony Braxton,
This Heat,
Kauko Röyhkä ja Narttu,
Scott Walker,
FM Einheit,
Grandmaster Flash,
The Dirtbombs,
Q and Not U,
Bang on a Can All-Stars,
The Associates,
The Kinks,
KRS-One,
Delon & Dalcan,
Marine Girls,
kango's stein massive,
Deepchord, Deepchord, Deepchord, Deepchord.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.